Chiara Ressetta (b. 1996) is an Italian artist who lives and works in Turin. She holds an MA in Fine Arts from the Florence Academy of Fine Arts and is currently finishing a painting course at the Albertina Academy of Fine Arts.
At the moment, Ressetta works mainly in the pictorial medium, which over the last two years has helped her to develop a specific image-based practice. Specifically, she is interested in subjects that may represent the iconic aspects of modern society, while to others, they can be considered of total disinterest or at least of daily interest but often not evaluated as meaningful.
These facts, subjects and phenomena are certainly part of Chiara's experiences, where subjects are linked to her usual visual world; more in-depth research takes place within photographic shots and archival books. To give an example, the washing, which is the act of purification through the bath and immersion in water, is a theme that she addresses promptly within her paintings, images and collages of people taking baths in the fountains and public.
Caco in Pineta - the spontaneous and animal act of a person who releases their physical needs outdoors, in a natural situation, is the theme addressed in the painting Le Forme Della Memoria (Caco in Pineta). In the artwork, we find a not immediately recognizable, crouching human figure under the palm leaves.
Le Forme Della Memoria results from a photographic project born between 2019 and 2021 from discovering a war book that documented the effects of dysentery during the I World War through an extensive photographic archive. The instinctual and wild aspect of this action gradually became of interest; the artist then began to notice this phenomenon was less unusual than she thought—an act of a certain vulgarity which, however, always retains a certain irony and naivety. She tries to refine this gesture to bring it back into the familiar collective environment.
The project aims to bring to light a reworking of collective memory through moments of personal memory. The importance of indifference that certain phenomena considered common can reflect a different type of value when a subject is activated in the pictorial scene.
At an early stage of her work, Ressetta breaks down and composes, through collage, the photographic image, then moves on to the canvas on which she uses different materials. The canvas is never covered in the initial phase; she instead uses natural colours to make her protagonists interact.